Music

Sam Smith and the embarrassing terribleness of LGBTQIA+ culture

Pop music – and specifically pop music stardom – has an incredible power to transform people into things they are not. The pop sphere enjoyed by my generation as teens transmogrified Morrissey into a sex symbol, Neil Tennant into an intellectual and Simon Le Bon into a surrealist poet.  More recently, pop’s alchemical potency has made Ed Sheeran someone people like to look at and Adele someone people want to hear from describing her emotional upsets at great length. But there are limits, and the singer Sam Smith has done us a favour by smashing into them.  For fear of seeming out of touch, people will now applaud anything In his

Bare and spectral: Bob Dylan’s Fragments – Time Out Of Mind Sessions reviewed

To understand Bob Dylan’s Fragments – Time Out Of Mind Sessions (1996-1997) – due to be released on Friday – you have to go back half a century to the release of the Beatles’s Let It Be. As millions of fans around the world bought the band’s final album, Paul McCartney was horrified. This was not the disc he had conceived: some of the most cherished songs in his oeuvre had been hijacked by superstar producer Phil Spector, who stamped his trademark ‘Wall of Sound’ during the album’s post-production process, filling it with lavish embellishments. Fast-forward to the mid-1990s and another legendary songwriter was at loggerheads with a different superstar

Legend of the Fall: Mark E. Smith and me

He was one of the most unlikely pop stars this country has ever produced: extraordinarily badly dressed and famously contrarian, with a voice that sounded more like an angry man shouting than anything recognisable as singing. But Mark E. Smith, front man of the Fall, became one of the most recognisable and eventually revered figures on the music scene. And five years on from his death at 60, his stock is higher than ever – his influence heard in the sound of newer bands such as Sleaford Mods and Idles, his name regularly evoked on the likes of BBC Radio 6 Music, and a giant tribute mural an unlikely tourist

In defence of Spotify

‘Pitiful.’ That’s the verdict of Damian Green MP, acting chair of the digital, culture, media and sport committee, on the payouts that streaming companies such as Spotify and Apple Music provide to musicians. An update to the group’s Economics of Music Streaming report, published on Friday, calls on the government to take a ‘proactive strategic role’ to make sure Britain’s music industry – one of the few that truly is world-beating – gets the cash it deserves. With streaming now accounting for 84 per cent of UK recorded music revenues, its businesses model really matters. Spotify controls up to 60 per cent of the British streaming market (Apple Music and

Why David Bowie was the model of a Renaissance Englishman

It’s hard to imagine how baffled the British public must have been by the arrival of David Bowie on to TV screens in the early 1970s. With his saffron hair, make-up and androgynous clothes, superficially he looked like a rejection of everything his post-war south London childhood had taught him. One of the most pivotal scenes in Moonage Daydream, the recent film about his life, is his 1973 interview with chat show host Russell Harty. Throughout this awkward cross-examination, Harty searches for a label he can stick on Bowie for the benefit of discomfited viewers. ‘Are those men’s shoes? Or women’s shoes? Or bisexual shoes?’ Harty inquires, looking down at Bowie’s strappy

Artistic achievements that changed the world

‘Astonish me!’ was the celebrated demand that the impresario Sergei Diaghilev made of Jean Cocteau when he was devising Erik Satie’s ballet Parade. Dominic Dromgoole has taken it as the title for a collection of essays on a series of seismic first nights, ranging across different public art forms. It is a celebration of the artistic achievements that overcame the odds to change the story of culture, and whose effects rippled out to change the world. The author is a distinguished theatre director, and his focus is on performance. He is at pains to reject the notion of the solitary artist and argues that, from the dawn of history, the

Why do bankers love techno?

Bankers and other assorted finance bros are an inescapable presence on the London nightlife scene. Industry, the British-made TV drama that follows a group of graduates on (and off) a City trading floor, begins its second series on BBC1 tonight and spares no detail of the drug-fuelled hedonism of its young bankers. One plot arc in the first series starts when the protagonist, exhausted after a long night on the powder, executes a trade in the wrong currency. Some in the field have protested that the on-screen excess is unrealistic. But much of it is apparently inspired by real-world experience. Mickey Down, one of Industry’s creators, spent just over a

Is Britney Spears really ready for a comeback?

For the finale of the #FreeBritney franchise, it seems that the 2000s Queen of Pop is to return to music. Recent reports have claimed that Britney Spears will be collaborating with Elton John on a song titled ‘Hold Me Closer’. As exciting as this is, I can’t help but think that – seeing as her conservatorship was ended less than a year ago by a court ruling – she may be biting off more than she can chew. I question if she is truly ready to return to the inevitable pressure that comes with being in the public eye. I’m no therapist, but the treatment that Britney has endured over

Recollections of a Queen’s piper

In 2015 I was lucky enough to become the Queen’s Piper. I played the bagpipes every morning for about 15 minutes under the window of Her Majesty, normally while she was eating breakfast. The Piper to the Sovereign is part of the household so I travelled with Her Majesty to her royal residencies, including Buckingham Palace, Windsor Castle, Balmoral Castle and the Palace of Holyrood house. The appointment also involved welcoming guests and visitors to the households for audiences with foreign and domestic dignitaries such as ambassadors and heads of state – and also British citizens receiving OBEs or CBEs and so on. For these occasions my role consisted mainly

Harpo Marx – genius, idiot savant or lovable overgrown child?

It’s hard (if not impossible) to imagine a world worth living in that doesn’t include the Marx Brothers; and equally impossible to imagine the Marx Brothers without their forever silent, animal-loving, hilariously unpredictable Harpo, he of the moppet wig, trampish overcoat packed with stolen silverware and blow torches, and recurringly grotesque facial expressions. For while the greatest comic performers of the silent film era (such as Chaplin and Keaton) couldn’t speak to the camera, Harpo was the only comic of the talkie era who simply wouldn’t, as if human conversation were somehow beneath him. There was always something about Harpo that seemed a little better than the ridiculous world he

Beyoncé and the pornification of pop

Beyoncé Knowles has always been sexy: naturally and consciously so. But her sexiness – those astonishing bottom-swooshing dance moves; the gleaming, undulating chest; the ever-changing, lustrous locks – sat alongside a moral substance that grew as her career progressed. She weighed in on politics, raising $4 million for Barack Obama and singing at his first inaugural ball. She weighed in on sexual morality, telling women in one of her most iconic songs that their man ought to, if he was to be taken seriously, ‘put a ring on it’. She is a committed Christian, having grown up in a Methodist household and frequently spoken of her faith. And she is

‘Jerusalem’ is a rousing anthem – but who knows what the words mean?

The spontaneous mass adoption of deep feeling is always interesting. Jason Whittaker has a very good subject, in the journey of the cryptic lyric section of the preface to William Blake’s incomprehensible epic Milton, written and illustrated between 1804 and 1810, to its becoming the de facto national anthem of England. ‘And did those feet…’ only took on its familiar title ‘Jerusalem’ (which has nothing to do with Blake’s poem entitled ‘Jerusalem’) after it was set to music by Hubert Parry on 10 March 1916. The following day, Parry handed over his composition to his colleague Walford Davies, saying insouciantly: ‘Here’s a tune for you, old chap. Do what you

Jarvis Cocker measures out his life in attic junk

If you were hoping for an autobiography this isn’t it. Jarvis Cocker calls it ‘an inventory’ and insists: ‘This is not a life story. It’s a loft story.’ But anyway it’s as quirky and engaging as you would expect from Cocker and also the most beautifully produced book I’ve seen in years, designed by Julian House. And it does, in its circuitous way, tell us quite a lot about Cocker’s formative years in Sheffield. The MacGuffin is that Cocker is meant to be clearing out a loft where he’s been storing stuff for years and deciding what to ‘cob’ (chuck) and what to keep. Of course he has trouble cobbing

The tricky business of music biopics

Along with films about real life authors, poets, comedians and artists, biographies of musicians are notoriously difficult to translate successfully to the cinema screen. Why? Writing and painting aren’t inherently cinematic; live music has more visual potential (hence the greater number of motion pictures). But the challenges of lip-synching and the existence in most cases of plenty of original concert footage raise the stakes for any actor prepared to take on such a role. There’s a real danger of performances falling into pastiche and mimicry. Directors face an even greater predicament when music rights are refused, as was the case with the recent Stardust (2021) where actor/musician Johnny Flynn had

Letters: Who’s responsible for Putin’s rise if not Russians?

Russian misrule Sir: Your editorial (‘Sanction Schroder’, 21 May) laments that western sanctions may be harming ordinary Russians, given that they too ‘are victims of Vladimir Putin’s corruption and misrule’. Yet who if not the Russian people themselves are more culpable for the rise of Putin? The unpalatable fact that both he and his assault on Ukraine still enjoy such considerable popular domestic support cannot be put down merely to his iron grip on the levers of coercion and propaganda. For most of the last century the Russian people have allowed themselves to be misruled and oppressed by a succession of malevolent tyrants and despots. There comes a point when

I’m a tourist in my own town

‘Just when I thought I was out, they pull me back in,’ groans a weary Al Pacino in The Godfather III. This is what it feels like being in/out (I’m not sure which) of the Sex Pistols. Oscar-winning director Danny Boyle has filmed a six-part drama about the life and crimes of my childhood buddy and Pistols guitar hero Steve Jones, based on his autobiography Lonely Boy. So, here we go again with endless rounds of interviews, with such profound questions as, what was Sid/Malcolm really like? Why is Johnny so angry? Will you ever play again? No! First off, it’s New York for the drama’s US premiere, courtesy of

How I fell in love with the blues

I was never into the blues that much. I listened to a bit of Roy Buchanan and Rory Gallagher but only as accidental overspill from rock. I knew the Rolling Stones’s sound came out of their love of the blues but what they added was more important (to me) than what they took. And then there was Eric Clapton. In common with a discerning portion of the British population, I loathed Clapton after his drunken endorsement of Enoch Powell’s rivers-of-blood speech. Even if I’d somehow let that slide, I could never forgive him for ‘Tears in Heaven’ which was like having a bucket of oversweetened bilge water poured over one’s

What we learnt from Eurovision

Twice during the Eurovision Song Contest our television lost the signal and the set went blank – once, mercifully, during the performance of a hirsute, gurning, cod-operatic bellend from that patently European country Azerbaijan. ‘Putin’, my wife and I both reckoned, seeing as Russian hacker groups favourably disposed towards their country’s leader had promised that they would do what they could to disrupt the broadcast and indeed the voting. If this really is the third world war, then I suppose it is a suitably banal and modernist take on universal annihilation – this yearly celebration of joyous gayness and very bad music suddenly part of the same war as the

Ed Sheeran is right about British courts

As they say in the music business, where there’s a hit, there’s a writ. It is something that no one knows better than Ed Sheeran, who yesterday won a legal battle over claims that his song Shape of You plagiarised an earlier song, Oh Why by Sami Chokri and Ross O’Donoghue. The judge ruled that Sheeran had neither copied the song deliberately nor subconsciously. After his victory, Sheeran said: Claims like this are way too common now and have become a culture where a claim is made with the idea that a settlement will be cheaper than taking it to court, even if there is no basis for the claim,